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Music criticism has played a fundamental and influential role throughout music history, with numerous composers such as Berlioz, Schumann, and Wagner, as well as many contemporary musicians, also maintaining careers as writers and critics. The Cambridge History of Music Criticism goes beyond these better-known accounts, reaching back to medieval times, expanding the geographical reach both within and beyond Europe, and including key issues such as women and criticism of recordings, as well as the story of criticism in jazz, popular music and world music. Drawing on a blend of established and talented young scholars, this is the first substantial historical survey of music criticism and critics, bringing unprecedented scope to a rapidly expanding area of musicological research. An indispensable point of reference, The Cambridge History of Music Criticism provides a broad historical overview of the field while also addressing specific issues and events.

Expands the boundaries of what the study of music criticism might encompass, giving a much needed perspective on a rapidly growing area of musicology

Goes beyond previous studies of music criticism, with a significantly broader timeframe, more extensive geographical reach and the inclusion of a wide range of themes

Provides a catalyst to new areas of study in the field of music criticism by introducing the latest thinking and provocations in the field

Table of Contents

Part I. The Early History of Music Criticism:1. Speaking of plainsong in the Middle Ages Christopher Page 2. Music criticism in the Late-Medieval and Renaissance era Stefano Mengozzi 3. Musical discourse in Italy 1500–1800 Carrie Churnside 4. Music criticism in France before the Revolution Charles Dill 5. Music criticism in Britain up to Burney Rebecca Herissone 6. German Music criticism before 1800 Stephen Rose Part II. The Rise of the Press:7. French music criticism in the nineteenth century, 1789–1870 Mark A. Pottinger 8. Gatekeeping, advocacy, reflection: overlapping voices in nineteenth-century British music criticism Leanne Langley 9. Constructing a musical nation: German-language criticism in the nineteenth century Laura Tunbridge 10. Music criticism in nineteenth-century Italy Alexandra Wilson 11. Music criticism in Imperial Russia Emily Frey Part III. Critical Influence and Influences:12. Critiquing the canon: the role of criticism in canon formation Laura Hamer 13. Comparing notes: recording and criticism Christopher Dingle 14. The gender paradox: criticism of women and women as critics Laura Hamer Part IV. Entering the Twentieth Century:15. Music criticism in the United States and Canada up to the Second World War Mark McKnight 16. Music criticism in Portugal: towards an overview Paulo F. de Castro 17. Spanish music criticism in the twentieth century: writing music history in real time Eva Moreda Rodríguez 18. Critical battlegrounds in the French Third Republic Delphine Mordey 19. British music criticism, 1890–1945 Paul Watt 20. Music criticism in Norway Per Dahl 21. Aesthetic conservatism and politics in German music criticism, 1900–1945 Karen Painter 22. Music criticism in Hungary until WWII Lynn M. Hooker 23. The 'people' in Czech and Slovak music criticism Kelly St Pierre Part V. New Areas:24. Jazz criticism in America Mark Racz 25. Catalysing Latin American identities: Alejo Carpentier's music criticism as a Cuban case study Caroline Rae 26. Writing about popular music Simon Frith 27. Working in the cool capitalism complex: the role of critics in the world music field Timothy D. Taylor 28. Cultural anxieties, aspirational cosmopolitanism and capacity building: music criticism in Singapore Shzr Ee Tan Part VI. Developments since the Second World War:29. Music criticism in the USSR from Asafyev to Cherednichenko Peter J. Schmelz 30. The Feuilleton and beyond: criticism in the Federal Republic of Germany and Austria after the Second World War Mark Berry 31. Music criticism in Italy in the twentieth century Raffaele Pozzi 32. Wider still and wider: British music criticism since the Second World War Christopher Dingle 33. Music criticism in France since the Second World War Christopher Brent Murray 34. Old divisions and new debates: music criticism in post-war America Sophie Redfern 35. Stop the press? The changing media of criticism Christopher Dingle and Dominic McHugh.

Editor

Christopher Dingle, Birmingham ConservatoireChristopher Dingle is Professor of Music at the Royal Birmingham Conservatoire. In addition to research on music criticism, he has authored or edited five books on Messiaen, including the acclaimed The Life of Messiaen (Cambridge, 2007). His realization of the orchestration of Messiaen's Un oiseau des arbres de Vie (Oiseau Tui) was premiered at the 2015 BBC Proms, and a critical edition of the score will be published by Leduc in 2019. A book of conversations with the composer Julian Anderson is in preparation and Dingle has also written for BBC Music Magazine for twenty-five years.

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